ADAM FERGLER Chi (2013)
for piccolo, E-flat clarinet, percussion, piano, violin & cello
www.adamfergler.eu
Copyright Š 2013 Adam Fergler
Instrumentation Piccolo Clarinet in E-flat (a second instrument may be used as well; see ‘Woodwind Notation’ below) Percussion (1 player): ∏
Sizzle cymbal – always played with a medium felt beater A single light chain (such as a chain for a rubber sink plug) hung over the plate of a moderate-size suspended cymbal in order to produce a delicate ‘sizzle’ when the cymbal is struck
∏
Medium-large pitched gong – always played with a medium felt beater No specific pitch, but must be capable of producing a pure tone with a clear pitch centre
∏
4 unpitched metals – always played with metal or plastic beaters (whichever best suits) Any metal objects that, together, produce a range of four related sounds, none of which should sustain for more than a second or so
∏
Piccolo snare drum – always played with very light drumsticks Capable of producing a very fine, delicate roll at pppp
Piano (with third pedal) – also requires two hard rubber percussion beaters Violin Cello
Duration Circa 7’ 30”
Performance Ethos In traditional Japanese philosophy, Chi, which roughly translates as ‘world’, represents solid objects and those things resistant to change. Stones, stubbornness, bone, stability, and gravity are all examples of Chi. In the first part of this piece (before rehearsal mark b1) instruments are subtly manipulated in various ways, while the range of acoustic possibilities remains limited. The percussionist uses only one instrument – a gong – whose tone is manipulated by focussing on different areas of the instrument's surface and also by touching it while it vibrates. This encourages and mutes different overtones while the basic essence of the gong’s sound and its pitch-centre remain unchanged. Meanwhile, the pianist strikes the frame of the piano, the resonance of which is enhanced by sympathetic vibration of the instrument's strings. The percussive attacks stubbornly endure, with subtle manipulations of colour provided by changing which strings vibrate most easily. The violin and cello play with fixed bow and finger positions. Alterations in bow and finger pressure produce a
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varied spectrum of new colour, but the fundamental acoustic properties of their strings plus unwavering pitch-centres limit and define the range of sounds achievable. In the second section (after rehearsal mark b1) the piece operates in a slightly different way. Here the flautist, clarinettist, violinist, and cellist are required to adopt new, effectively normative playing positions. The percussionist intones triggers, which signal changes in these playing positions. The triggering process ‘releases’ new sounds and brings about the possibility of transformation. Crucially, the visual and sonic adjustments are obviously of a similar, apparently predetermined nature every time. In accordance with the philosophy of Chi, these changes are always quickly ‘corrected’ – the musicians always return to their ‘normative’ state. Throughout the piece the performers should pay close attention to the nature of the sonic variations they create and how far these deviate from their comparatively fixed points of reference (as described above). The newly emerging colours should be beautiful and filled with the potential for change. Potential here is everything. By repeatedly usurping new colours we can appreciate the stubbornness at the heart of the music.
Intonation and Tuning Differences in instrument design and the performance techniques deployed make it difficult to determine exactly which pitches will sound and how the tuning of instruments will interact. It is not necessary to tune the instruments relative to one another. The performers might want to tune their instruments individually to maximise control of the sound palette they need to command.
Rhythmic Notation Headless notes (i.e. stems only) only show rhythmic divisions of bars – they do not indicate rearticulation. Changes in articulation, pressure, etc. occur where noteheads appear.
Woodwind Notation Music for the piccolo and clarinet is ordinarily written on two staves. The upper stave shows action on the instrument (i.e. fingering and breathing); the lower stave shows the position of the instrument relative to the performer. There are short passages where the clarinet music is written using standard one-stave notation. The top and bottom lines of the lower woodwind staves represent two extreme instrument positions. Details of these, which are different for each instrument, are given below. A thick line running along the stave shows which position to use from moment to moment. A horizontal portion of the line means the instrument position remains constant; a diagonal portion indicates a shift between positions (the rate of change being indicated by the angle of the line). After entering, the piccolo player should maintain performance posture throughout – they should never lower the piccolo or be seen to rest. The almost fixed nature of the posture, only slightly
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altered by manipulating the instrument position, is a key visual element in performance. The same is true of the clarinettist, except during the short passages with barrel and mouthpiece attached. More detailed description of the piccolo and clarinet notation follows: Piccolo For the piccolo the two extreme instrument positions are ‘distant’ (top of the lower stave) and ‘near’ (bottom of the lower stave). Fingerings
Breathing
‘Distant’position
Transition between positions
‘Near’ position
‘Distant’ means the instrument should be held some distance in front of the performer, performer preferably most of an arm's length. The piccolo should also be rotated so the air stream can be directed straight into the embouchure hole rather than across the lip plate. The instrument will need to be held steady in order to keep it level with wi the airstream. Bring the bottom lip forward slightly to direct the airstream straight outwards (rather than slightly downwards). downwards) The he embouchure will need to be slightly looser than normal. The resulting sound should have a very high air-noise air noise component but some pitch centre. ‘Near’ indicates the instrument should be brought close to the lips and rotated away from the performer (unless otherwise indicated). indicated) The degree of rotation should be enough to render the tone unstable, again with a high air-noise noise element but a discernible pitch centre. The he embouchure should be normal. Although both ‘distant’ and ‘near’ positions produce sounds described in similar terms, term there is a very noticeable difference in timbre between the two. Transitions between ‘distant’ and ‘near’ should be executed in one smooth motion. A comparatively normal relationship between lip--plate and airstream is achieved mid-transition transition when wh the instrument is part rotated but still some distance from the lips. The larger-than-normal distance here is likely to impede standard tone production. A stable, traditional piccolo sound is unlikely to be heard except in bar 148, where the excessive rotation in the ‘near’ position is ‘corrected’. Clarinet stave notation is used for the clarinet the barrel and mouthpiece need to be removed. If When two-stave switching between two instruments is safer than altering one instrument quickly and quietly, quietly the performer can use a second clarinet. clarinet If so, the second instrument can be any member of the clarinet family. If a different-sized clarinet is used for one-stave stave passages, the music should not be transposed to compensate (i.e. slap tongues are always produced p on a written low E).
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Fingering
Breathing
s
‘Closed’ position
Transition between positions
‘Shakuhachi’ position
During two-stave stave passages the clarinet’s two performance positions are ‘closed’ (bottom of the lower stave) and ‘shakuhachi–style’ style’ (top of the lower stave). ‘Closed’ means sealing the end of the instrument with the lips and blowing blow into the tube. The resulting sound has a high air-noise noise component with a discernible pitch centre. Because the instrument has the barrel and mouthpiece removed the instrument will produce pitch centres that deviate from regular chromatic tuning. Playing ‘shakuhachi-style’ means only slight adjustment to the ‘closed’ technique described above. Angle the clarinet slightly to one side and tighten the embouchure to produce a narrower, narrower almost flute-like airstream. The airstream should be directed across the edge of the open end of the instrument to produce a shakuhachi-like shakuhachi sound. Maintaining uniformity and quality of tone will be difficult,, especially between fingerings – this instability is an intended part of the performance. Transitions between ‘closed’ and ‘shakuhachi-style’ ‘shakuhachi should be executed in one smooth motion. Note: being able to use the term ‘shakuhachi-style’ ‘shakuhachi in a piece inspired by Japanese philosophy is a happy coincidence! However, the clarinettist is not expected to emulate the sound of a shakuhachi. The term ‘shakuhachi-style’ style’ is a useful index for a particular playing position position understood by many performers and not an indication to mimic the sound of traditional Japanese music. music
Percussion Notation In the first section of the piece (up to rehearsal mark b1) the percussionist plays only the gong. The music here is notated on two staves. The upper stave shows where to hit the instrument with the beater (always a medium felt beater). beater) The lower stave shows where to touch the instrument with the other hand in order to manipulate the quality of sound. Both staves show four contact zones:
(edge) (mid-inner area)) outer area) area (outer
(dead centre)
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The pressure exerted by the non-beater non hand is notated as follows (degrees of muting apply only to the contact point and not the entire gong): gong)
Ø Fully muted
Half muted
Touch lightly (one finger)
During the first section of the piece thick lines appear on the lower stave, indicating that the nonbeater hand should remain in contact with the gong (in ( the corresponding zone). ). This might be difficult to achieve when the instrument sways about a lot, particularly in louder passages. passages This is expected and will inevitably produce a ‘freer’ sound. Nevertheless, the player should try their hardest to maintain contact where indicated. indicated Occasionally (in the first section)) the non-beater hand is removed completely, allowing the gong to vibrate freely. Such instances are marked with wi rests on the lower stave (and no thick line). The non-beater hand and the beater should never touch the instrument in the same location. If the score indicates that both hands act in the same contact zone they should do so in different areas within that zone (diametrically opposite, for instance). The only exception to this is when both hands act in the dead centre, where proximity is unavoidable. The gong should only be damped when explicitly marked and is never damped in the second section (after rehearsal mark b1). The sizzle sizz cymbal,, which only appears in the second section, should never be damped at all.
Piano Notation Piano music is notated on two irregular staves. The lower stave shows pedalling and any keys to be engaged before pressing the third pedal. No sound should ever be produced by engaging the keys. keys The upper stave shows the use of two rubber beaters, beaters one in each hand, which strike the piano’s metal frame. One beater should strike ke at the very high end of the instrument and the other should strike at the very low (notated high and low accordingly). The two contact points will produce a slightly different tone and will trigger different sympathetic s vibrations. Beater at high end
Beater at low end
Pitches to be engaged by third pedal (but not sounded)
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String Notation Music for the violin and cello is always notated on two staves. The upper stave relates to bowing and the lower one to fingering. In the first section both instruments are played relatively ordinarily. That is, their bows remain in a normal playing position and the instruments are held in the usual fashion. Changes in bow pressure are notated as follows:
Normal
Half harmonic
Light (harmonic)
Very light
Changes in finger pressure are notated as follows:
Very heavy
Heavy
Normal
Light (harmonic)
Very light
Dynamic variation is achieved through bow speed. Some dynamics will be hard to control. In these cases the attempt to control them is more important than maintaining stable volume and tone. In the second section (from rehearsal mark b1) the notation for string instruments is adapted as follows: Violin The violin needs to be stood upright and rested on the performer’s leg with the strings facing away from the performer. The bow is placed at the very end of the fingerboard nearest the pegs and plays on strings II and III together (double-stopped). The left hand fully depresses strings I and IV so the inner pair can be bowed without obstruction. A single finger is placed very lightly between strings II and III to prevent a full tone from emerging. The fingers of the left hand remain in this configuration throughout the second section, always moving up and down the strings together. The bow is used above the stopping fingers (i.e. on the ‘wrong’ side) throughout the second section. As in the first section, the upper stave relates to the bow and the lower one to fingering. The upper (bow) stave is slightly altered. An extra line towards the top indicates the very end of the fingerboard. Music above this line is performed on the short exposed section of strings between the pegs and fingerboard. The remaining (larger) portion of the stave is a visual representation of the space between the top end of the fingerboard (near the bow, which is on the 'wrong' side) and an unspecified location mid-way down the instrument, the exact location of which is at the performer’s discretion. Only use normal bow pressure in the second section of the piece.
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Space indicating strings are bowed over peg box
Bow at top end of fingerboard
Bow mid-way way down neck
Fingers at bridge-end of fingerboard
Fingers at peg-end peg of fingerboard
The lower (fingering) stave shows the position of the left hand between the two ends of the fingerboard. Remember, the he bow plays at the peg-end peg so the top line represents the upper limit of left-hand movement, at least a bow's width from the very top. The bottom line represents the other end of the fingerboard – the region the t bow would occupy during traditional sul tasto playing. There are no changes of finger pressure anywhere in the second section! Note: there is significant overlap between between the area of the instrument covered by the bow and the area covered by the fingers of the left hand. Cello Both staves show the playable range of string I, which is the only cello string used in the second section. As in the first section, the upper stave stave relates to the bow and the lower one to fingering. The upper stave shows the range used by the bow between molto sul tasto (top of the stave) and molto sul ponticello (bottom of the stave). The tasto limit will be determined by the body of the cello, which will obstruct the bow beyond a certain point. point Bow pressure is notated as it was in the first section. Bow molto sul pont.
Let open strings ring
Bow molto sul tasto
Fingers at top of fingerboard
Mute open strings
Fingers adjacent to bow
The lower stave shows the range of string I used by the left hand. The top line indicates the very top (peg end) of the fingerboard. The bottom line represents a position adjacent to the bow, wherever that happens to be. Half-harmonic harmonic finger pressure is used throughout the second section. section The cellist should use only one finger on the string. The remaining fingers are required to mute strings II-IV from time to time. Sometimes strings II-IV II IV are left open so they can vibrate sympathetically. sympathetical Muting for these strings is indicated below the stave as shown on the diagram above.
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Programme Note Chi, after Kū for solo viola, is the second piece I’ve written that takes its cue from traditional Japanese philosophy. I make no claim to be an expert in traditional Japanese philosophy and I’m no big fan of musical ‘tourism’, which I find quite banal. In all honesty the music has very little to do with Japan, which I’ve not yet visited, nor ancient modes of thought. What caught my interest was the way the philosophy brings together natural objects and human temperament. Even in translation – always a sure-fire way to misrepresent complicated, socially ingrained thought – there was something immediate about the basic but apparently profound connections I was reading about. Basic analogies between man and nature are commonplace in my own language (and I dare say most others): ‘cunning as a fox’ or ‘blind as a bat’, for example. But there’s something beautifully fundamental about the connections in the Japanese philosophy, even after shoddy translation into English. This piece of music is less about the philosophy itself and more about my reaction to it – less about the effectiveness of translation from ancient Japanese to modern English and more about further translation into music. I’m exploring the basic qualities at the heart of the ancient ideas in yet another ‘language’. Chi, which roughly translates as ‘world’, represents solid objects and those things resistant to change. Stones, stubbornness, bone, stability, and gravity are all examples of Chi. My music imposes strict, limiting parameters on the performers and subjects these to minor alterations. The alterations don’t last – the music stubbornly refuses to be affected. Those brief glimpses of potential have their own beauty, tantalisingly suggesting new paths and new sounds before being extinguished.
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Dedicated, with all my love, to Pedro Vale
Chi for sextet
a1
Adam Fergler (2013)
x = 96
Medium felt beater
fff
ppp
Percussion (Gong)
Piano
f
ppp
Sost.
fff
Violin
IV
ppp
slow vib. (sempre)
fff
ppp
Violoncello
non vib. (sempre) II
a2
9
f
mp
M-lg. Gong
Pno.
mf
Sost.
p
mf
Vln.
Sost.
ppp
Vc.
2
18
ppp
M-lg. Gong
Pno.
mf
p
ppp
Sost.
p
Vln.
pppp
f ppp sub.
mf
fp
Vc.
3
a3 (e = 48)
27
M-lg. Gong
Pno.
Sost.
Vln.
Sost.
ppp
mf
pppp
Vc.
4
34
fff
p
M-lg. Gong
Pno.
fff
p
fff
p
Sost.
p
Vln.
p
ppp
Vc.
5
a4
40
M-lg. Gong
Pno.
fff
ppp
Sost.
Sost.
ppp
Vln.
f
ppp
p
mf
Vc.
6
47
M-lg. Gong
Pno.
f
Sost.
pppp
Vln.
p
ff
Vc.
7
53
fff
M-lg. Gong
Pno.
ppp
Sost.
Vln.
pppp
Vc.
8
a5
59
ppp
M-lg. Gong
Pno.
Sost.
Vln.
pp
Vc.
9
67
mp
ppp
M-lg. Gong
Pno.
fff
Sost.
sfp
Vln.
pppp
Vc.
10
a6
75
p
pp
mf
ppp
Leave gong to ring; move to snare drum
fff
p
M-lg. Gong
Pno.
fff
p
Sost.
Cue a7 for woodwind
ppp
Vln.
mf
ppp
Vc.
11
a7
Maximum air noise! Lips tightly against lip-plate - use fingering that produces the most air noise
84
Picc. Distant Near
flzg.
f
f
Pno.
Vc.
fff
pppp
(gradually increase pressure)
To metals, cymbal, and gong
fff
gliss.
(gradually reduce pressure)
gliss.
Stand violin on leg and hold vertically
ppp
Remove barrel and mouthpiece
mf
Vln.
flzg. (throaty)
p
Light snare sticks
(any 2 fingerings Raucous scale/gliss. - upwards with very different gesture achieved by any means tone colours) (small or wide range)
3
ff
sf
S. D.
Slap tongue!
Cl. (Eb)
IV
12
b1 e = 112
sf
sfp
Eb
95
Picc. Distant Near
5
sfp
sfp
3
sfp
sfp molto dim.
Closed
Sz. Cymb. M-lg. Gong
p
sfp
3
sfp molto dim.
sfp
p
3
5
sfp molto dim.
With violin standing on leg held vertically
II + III
p
sfp
Vln.
3
5
sfp
3
5
sfp molto dim.
I
p
sfp
(non vib.)
Vc.
Shak.
4 Metals
Cl. (Eb)
3
p
sfp
5
3
sfp
13
p
b2
101
Picc. Distant Near
3
5
sf sfp
sfp
3
sfp
sfp molto dim.
Closed
3
p sfp
Vln.
sfp
p
sfp
3
sfp
sfp
sfp
14
molto dim.
5
3
sfp
molto dim.
p
5
sfp
5
mp
sfp
p
p
Vc.
5 A
5
mp
p molto dim.
Hard metal or plastic beaters
3
molto dim.
Shak.
Sz. Cymb. M-lg. Gong
sfp
4 Metals
Cl. (Eb)
p
b3
108
Picc. Distant Near
sf
sfp
5
sfp
sfp
3
sfp
sfp molto dim.
Closed
Sz. Cymb. M-lg. Gong
p
sfp
Shak.
4 Metals
Cl. (Eb)
3
3
sfp molto dim.
sfp
p
3
5
sfp molto dim.
p
sfp
Vln.
3
5
p
sfp
5
sfp molto dim.
3
sfp
Vc.
p
sfp
5
3
sfp
15
p
b4
Picc. Distant Near
sf
sfp
sfp
Cl. (Eb)
Closed
Medium
Sz. Cymb. M-lg. Gong
felt beater
mp
p
Vln.
molto dim.
sfp dim. molto
Shak.
4 Metals
114
sfp
p
sfp molto dim.
Vc.
3
3
sfp
ff
16
mf
5
p sfp
3
b5
5
5
3
120
Picc. Distant Near
sf
sfp
Eb
Eb
3
Eb
Eb
Eb
5
sfp
sfp
sfp molto dim.
Closed
Sz. Cymb. M-lg. Gong
Vln.
p
sfp
p
sfp
sfp
3
sfp
sfp molto dim.
(Medium felt beater)
3
5
5
3
sfp
sfp molto dim.
p
Eb
Eb
Vc.
Eb
mp
mp
Eb
3
Shak.
4 Metals
3
sfp
Eb
Eb
Cl. (Eb)
p
sfp
3
sfp
17
5
p
b6
126
Picc. Distant Near
sf
sfp
Eb
3
5
sfp
sfp
3
sfp
sfp molto dim.
Closed
mp
Sz. Cymb. M-lg. Gong
p
sfp
Vln.
Eb
Eb
Eb
sfp molto dim.
sfp
p
sfp
3
sfp
sfp molto dim.
sfp
p
5
3
sfp molto dim.
5
mp
3
p
3 5
mp
Vc.
G#
Shak.
4 Metals
Cl. (Eb)
Repeat as fast as possible
p
sfp
3
5
sfp
18
p
b7
132
Picc. Distant Near
sf
sfp
sfp
Closed
Sz. Cymb. M-lg. Gong
5
3
3
mf
sfp molto dim.
mp
p
Eb
5
sfp molto dim. p
sfp molto dim.
5
Eb
mp
mp
3
G#
3
sfp
5
sfp
p
p sfp
Vln.
Vc.
Eb
sfp
Shak.
4 Metals
Eb
3
Cl. (Eb)
sfp
sfp
5
p
5
3
p
sfp
19
p
b8
138
Picc. Distant Near
sf
sfp
5
sfp
sfp
3
sfp
sfp molto dim.
Closed
Sz. Cymb. M-lg. Gong
p
3
sfp
3
sfp
p
sfp
p
sfp
5
mp
sfp molto dim.
3
sfp
p
5
sfp molto dim.
3
5
sfp molto dim.
Vln.
Vc.
Shak.
4 Metals
Cl. (Eb)
3
p
sfp
5
5
3
sfp
20
p
b9 (rolled away)
3
144
Picc. Distant Near
Cl. (Eb)
sf sfp
flzg.
3
sfp
sfp
Closed
4 Metals
Sz. Cymb. M-lg. Gong
sfp
Shak.
normal position
3
rolled away 3
p
sfp
p
Vln.
3
5
sfp
sfp
p
Vc.
molto dim.
sfp
5
p
21
b10
3
150
flzg.
sfp
Picc. Distant Near
Cl. (Eb)
sfp
3
flzg.
sf ppp
sf
3
5
sfp
sfp
sfp
3
sfp
sfp molto dim.
Closed
Sz. Cymb. M-lg. Gong
molto
Shak.
4 Metals
mf
p
Vln.
22
sfp
p
Vc.
5
sfp
3
sfp
5
p
b11
154
Picc. Distant Near
p
Sz. Cymb. M-lg. Gong
3
sfp
mf
sfp
p
5
sfp
p
Vc.
mp
p
3
p
sfp
sfp
sfp
5
mp
23
sfp molto dim.
p sfp
3
3
sfp
sfp
sfp molto dim.
Vln.
3
5
Eb
3
Eb
sf sfp
sfp molto dim.
p
mp
5
sfp molto dim.
Closed
4 Metals
sfp
Shak.
Cl. (Eb)
3
5
p
p
b12 161
G#
Eb
Distant Near
Cl. (Eb)
Closed
Sz. Cymb. M-lg. Gong
Eb
sf
sfp
3
5
sfp
sfp
p molto dim.
Shak.
4 Metals
sfp
Eb Eb
sf dim. molto
Picc.
3
sfp
sfp molto dim.
p
sfp
sfp
p molto dim.
Vln.
p
3
5
sfp
p
24
sfp
sfp
5
p
3
Vc.
5
p
sfp
b13
168
3
sfp molto dim.
Picc. Distant Near
3
Cl. (Eb)
3 sfp
sfp molto dim.
Closed
Sz. Cymb. M-lg. Gong
p
Shak.
4 Metals
5
2:3
sfp
sfp
sfp
sfp
5:6
sfp
sfp p molto
sfp
3
mp
sfp molto dim.
Vln.
3
5
p
molto dim.
sfp
Vc.
p
sfp
25
175
Picc. Near
Shak. Closed
5
sfp
molto
Cl. (Eb)
Sz. Cymb. M-lg. Gong
Distant
4 Metals
ppp
Vln.
(molto dim.)
Vc.
26
b14
180
Picc. Distant Near
sf
sfp
sfp
sfp
sfp molto dim.
Closed
Sz. Cymb. M-lg. Gong
sfp
3
Shak.
4 Metals
5
Cl. (Eb)
3
p
(echo)
3
mp
sfp
sfp molto dim.
3
sfp
mp
sfp molto dim.
mf
3
mp
mf
Vln.
p
Vc.
sfp
5
p
p
3
sfp
27
b15
Eb Eb
185
Picc. Distant Near
Eb
Eb
Eb
p
sfp
3
sf sfp
(echo)
sfp
p
Vln.
3
5
sfp
5
p
28
p
sfp
sfp
p
sfp
p
Vc.
sfp molto dim.
5
sfp
3
5
Closed
Sz. Cymb. M-lg. Gong
Shak.
4 Metals
Cl. (Eb)
Eb
5
sfp
5
p
sfp
b16
flzg.
190
Picc. Distant Near
3
sfp molto dim.
3
sfp
Cl. (Eb)
p
ppp
flzg.
flzg.
sfp molto dim.
3 flzg.
flzg.
ppp
mp
3
3
5
sfp
Vc.
3
sfp
sfp
p
3
sfp molto dim.
p
5
ppp
29
pp
3
p
sfp molto dim.
Vln.
5
Closed
Sz. Cymb. M-lg. Gong
flzg.
3
Shak.
4 Metals
5
196
Picc.
Distant Near
Cl. (Eb) Shak. Closed
Sz. Cymb. M-lg. Gong
4 Metals
3
ppp
Vln.
sfp
pp
ppp
Vc.
30
b17
200
Picc. Distant Near
sf
sfp
Eb
3
sfp
sfp
3
sfp
sfp molto dim.
p
Closed
mp
Eb
sfp
Eb
Shak.
Sz. Cymb. M-lg. Gong
4 Metals
Eb
5
Cl. (Eb)
Eb
sfp molto dim.
5
sfp molto dim.
3
sfp
3
mf
p
sfp
Vln.
3
5
p
sfp
3
sfp
Vc.
p
p
p
31
b18
Eb
206
Picc. Distant Near
sf
sfp
5
sfp
sfp
3
sfp
sfp molto dim.
Eb
Eb
p
sfp
Closed
p
sfp molto dim.
Shak.
4 Metals
Cl. (Eb)
3
mp
Sz. Cymb. M-lg. Gong
p
sfp
Vln.
4:5
3
3:5
Vc.
p
sfp
5
p
p
32
b19
Eb
211
Picc. Distant Near
sf
sfp
5
sfp
sfp
3
sfp
sfp molto dim.
Closed
Sz. Cymb. M-lg. Gong
3
sfp molto dim.
p
sfp
3
sfp
5
p
sfp molto dim.
3
p
sfp
Vln.
3
5
sfp
p
sfp
5
sfp molto dim.
Vc.
Shak.
4 Metals
Cl. (Eb)
3
p
sfp
5
3
sfp
33
p
217
Picc. Distant Near
sf
sfp
5
sfp
sfp
3
sfp
sfp molto dim.
Closed
Sz. Cymb. M-lg. Gong
3
sfp molto dim.
p
sfp
Shak.
4 Metals
Cl. (Eb)
3
3
sfp
5
p
sfp molto dim.
3
p
sfp
Vln.
3
5
sfp
p
sfp
sfp molto dim.
Vc.
5
p
sfp
5
3
sfp
34
p
223
Picc. Distant Near
sf
sfp
5
sfp
sfp
3
sfp
sfp molto dim.
Closed
Sz. Cymb. M-lg. Gong
3
sfp molto dim.
p
sfp
Shak.
4 Metals
Cl. (Eb)
3
3
sfp
5
p
Replace barrel and mouthpiece
sfp molto dim.
p
Vln.
3
5
sfp
p
sfp
sfp molto dim.
3
sfp
Vc.
Cue b20 for percussion and piano
5
p
sfp
5
3
sfp
35
p
b20 Slap tongue! 229
Eb Cl.
mp
Light snare sticks
S. D.
Pno.
p
pppp
36